My best work is often almost unconscious and occurs ahead of my ability to understand it.

For spiritual companions I have had the many artists who have relied on nature to help shape their imagination. And their most elaborate equipment was a deep reverence for the world through which they passed. Photographers share something with these artists. We seek only to see and to describe with our own voices, and, though we are seldom heard as soloists, we cannot photograph the world in any other way.

I wanted life to be episodic. I wanted to be a magazine photographer and I was willing to do what it took to become that.

"You know you are seeing such a photograph if you say to yourself, "I could have taken that picture. I've seen such a scene before, but never like that." It is the kind of photography that relies for its strengths not on special equipment or effects but on the intensity of the photographer's seeing. It is the kind of photography in which the raw materials-light, space, and shape-are arranged in a meaningful and even universal way that gives grace to ordinary objects."

First of all, I appropriate photographs.In presenting the Richard Prince photograph I tried to be as neutral as I could be. I put down the fact of it. I wanted it to be the same thing he wanted it to be, an open ended invitation to think about authorship, and who owns a created work. So I pair it with my appropriated picture.

I started teaching in '76 and I'd been a photographer at the Geographic for six years. But prior to being at the Geographic I was a teacher. Plus my parents were teachers and my brother and my grandparents. So it was the culture of our family to think about teaching, to talk about teaching, to talk about teachers.

I will just say, appropriation is an intellectual idea until it happens to you. It's a philosophy, and it's got its own intellectual framework. Then there's what happens when it's your photograph. Then it's personal, and that's all I'll say.